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An Introduction To Photography- Michael Freeman

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Buku berkaitan fotografi ini di tulis oleh Michael Freeman salah seorang Ahli Fotografi terkenal dunia.Buku ini diterbit pada tahun 1990.Walaupun buku ini merujuk kepada Kamera 35mm,( Tahun 1990 kamera digital masih belum established )  teknik foto yang di guna adalah terpakai untuk kamera digital juga.
Sesuai untuk penggemar fotografi,pelajar bidang fotografi.

Di bawah adalah sedutan tips berkaitan penggunaan Filters yang sesuai bagi gambar berwarna.Mukasurat 54

FILTERS FOR COLOR PHOTOGRAPH

Filters that fit over the lens are a key method of controlling the colour and tone of your images. The important filters are not, however, the special effects and trick filters that produce rainbows, stars and drastic colour changes. Although these can sometimes be fun to experiment with, the filters for serious use are those that balance the light, compensate for shifts, cut parts of the spectrum and alter contrast. Few photographers maintain a full set, but it is as well to know which filter will do what.

COLOUR COMPENSATION FILTERS
These filters are for correcting colour shifts - kind that may be due to differences in film manufacture, reciprocity failure or to some artificial 1ight sources such as fluorescent and vapour lamps.They are available in six basic colours: red, blue,green, cyan, yellow and magenta. There are different strengths for each, and in the right combinatiion- any colour can be created.


Ultraviolet light can make distant haze appear bluish. A UV filter can correct this.
LIGHT BALANCING FILTERS
This range of filters is used to match the film to the light. We have already seen why this is necessary in selecting daylight or tungsten-balanced film. However, you may often find yourself with the wrong film for the light source; for instance, if you have been using regular daylight film but suddenly find an opportunity for an indoor picture. In this case, there is a blue filter to balance the light - 80A in the Kodak series (there are equivalent filters from other manufacturers, with different designations). The opposite filter, for using Type B film in daylight, is an 85B. These two filters are the strongest that are normally used, but a whole range of weaker filters is available for making slight corrections. One of the commonest uses is on an overcast day, when the overall colour balance is a little cool. To warm up the image, many photographers use an 81, 81A or 81C filter. These are straw-coloured and give just a hint of warmth. Indoors, using available domestic tungsten lighting, cooling correction may be needed, as the colour temperature these lamps is lower than the 3200K of type B film..

ULTRAVIOLET FILTERS


These plain, or slightly yellowish, filters a_ designed to cut the response of film to invisi'n:_ UV wavelengths. These wavelengths make dista-- haze appear bluish and add a blue cast to pieta-.- taken on mountains. Improvements in recent vea in film has made UV filters less dramatic in the- effect on colour film, but still useful (they also pr _tect the front of the lens).

POLARIZING FILTERS


Daylight is partly polarized, which means that vibrates in only one plane. Although this effect normally invisible, it can be used by means of polarizing filter, which allows light through in jc=- one plane. If the plane of the daylight and that .: the filter are lined up, there is no effect, but if t'r.L filter is rotated, it quenches the polarized light. In practice, this affects reflections from anything.

Buku Lain oleh Michael Freeman

The Photographer's Eye: Composition and Design for Better Digital Photos